What terrible weather they have in Yorkshire

Keighley News announces that Westfield Farm, near Haworth, is on the market:

Historic cottages with links to the Brontës are for sale – with a guide price of £1.7 million.
The buildings, at Westfield Farm near Haworth, are being marketed as a holiday cottages business.
Previous owners of the cottage site have included well-documented friends of the Brontë family, which lived just half a mile away at the parsonage.
Haworth Parish Church – where the Rev Patrick Brontë, father of the famous literary siblings, was vicar – can be seen from the moorland spot.
“Westfield Farm is steeped in history and its owners have an archive of documents relating to its past,” said a spokesman for Blacks Business Brokers, which is marketing the buildings – home to a self-catering holiday lets business for more than 40 years.
“The farm dates back at least to the 16th century, when its owner was mentioned in the records of the Haworth Manorial Court as being bound over for failing to keep the boundaries of the property in good order!
“In the first half of the 19th century the property was owned by Joseph Greenwood, a friend of Patrick Brontë. Greenwood’s daughter Ann was a childhood friend of the Brontë sisters and, like them, died tragically young from tuberculosis.” (Alistair Shand)

Maybe 'childhood friend' is a little too much according to Barnard & Barnard's A Brontë Encyclopedia:

"A note from Charlotte to Ann in 1836 accepting an invitation to tea suggests relations were friendly, if not particularly close."

The Times reviews Working with Winston by Cita Stelzer and quotes this unforgettable Wuthering Heights 1939 reaction by Churchill himself:

His reaction after watching Wuthering Heights (1939) was to remark: “What terrible weather they have in Yorkshire.” (Lawrence James)

A film and an actress, Merle Oberon, who was also a favourite of Eva Perón, according to El Tribuno (Argentina).

Bookriot publishes a Q&A with the authors Sonali Dev and Meg Donohue on retelling the classics:

Sonali Dev: I think Wuthering Heights is such an atmospheric book. My favorite part of it is the moodiness and how that blurs the lines between the characters’ inner selves and their physical world. And You, Me, And The Sea strikes that beautiful atmospheric moodiness from the very first page. Was that a deliberate choice? What drew you to this particular story?Meg Donohue: (...) To answer your question, yes, the haunting atmosphere of Wuthering Heights, and the way that atmosphere reflects the inner lives of Brontë’s characters, is absolutely my favorite thing about Wuthering Heights as well, and something I worked to recreate in You, Me, and the Sea. I’m so glad you felt that. Wuthering Heights, with its wild landscape of mist-strewn moors, has always felt like such a transporting reading experience for me. It’s a novel I’ve loved since I was a teenager, but over the decade plus that I’ve lived in Northern California, I’ve found myself thinking back to it more than ever. The landscape here–the soaring cliffs, the pounding sea, the thick, ever-moving fog–is incredibly evocative; I can’t help but be reminded of Brontë. The other piece of Wuthering Heights that has haunted me all these years is a particular plot point from the novel. When Heathcliff returns from a long mysterious absence, Catherine falls sick and dies before she is forced to choose between him and her husband. I’ve always wanted to know what would have happened if Cathy had lived. Who would she have chosen–the forbidden love of her childhood, or her patient, wealthy husband? What would have been the repercussions of that choice? Brontë is never going to answer these questions, so I thought it would be fun to answer them myself in a novel inspired by her work. Like your novel, mine isn’t a strict retelling, but uses the classic as a springboard to create something new.

Wendy Parkins recalls her experiences recovering from her phobias in The Stuff (New Zealand):

Mostly I retreated to books as therapy. Or as escape. I spent a long, idle year after graduation back at home with my parents, away from the city and all my friends. Those miserable books you read, my mother said, no wonder you're unhappy. Even Charlotte Brontë's Shirley she regarded with suspicion. But then I suppose I was a young woman languishing in the Australian equivalent of a country vicarage and fearing I was going mad.

National Review (Canada) reviews the film Tolkien:

The English language itself is never used romantically. Hoult and Collins are both pretty, but their characterizations need fervor beyond pubescence — such as the way Kate Bush’s sensual, ghostly, utterly English update of “Wuthering Heights” gave pop-culture force to myth. (Armond White)

Jazz Journal reviews the latest album by Rigmor Gustaffson, Come Home:

Covering Kate Bush songs is the musical equivalent of walking a tightrope without a safety net. There is simply no room to get things wrong, such is the distinctive nature of Bush’s compositions and vocal delivery. Gustafsson gets away with it on Wuthering Heights, playing it safe with a fairly close reading of the original. Again, this track also shows the strengths and musical wisdom of the supporting trio, who don’t try to do anything too clever with a song where, frankly, it is impossible to improve on the original. (John Adcock)

and Boca Magazine does the same with Wild Nights with Emily:

Yet the role is not a drastic departure from Shannon’s comedic bailiwick, because “Wild Nights With Emily” is a very funny film, even if not everybody is going to get it. The humor is so dry it’s practically Saharan. As with Whit Stillman’s highbrow comedies of manners, it’s best if you have an understanding of Ralph Waldo Emerson or “Wuthering Heights,” and if you appreciate the deadpan possibilities of the pregnant pause: Time and again, Olnick lets scenes play out a beat or two longer than another director would, savoring in the awkward silence. (John Thomason)

Les Echos (France) and Frankfurt Live (Germany) recommend the performances of Bernard Hermann's Wuthering Heights in Nancy:

Connu pour ses BO de films d'Orson Welles et d'Alfred Hitchcock, Bernard Herrmann a également composé un opéra d'après le célèbre roman d'Emily Brontë. L'Opéra national de Lorraine en donne la première française scénique. Une belle redécouverte. (Cecilia Delporte) (Translation)

The Clinic (Chile) interviews the author Amanda Teillery:

Valentina Collao López: Eras chica, no es tan descabellado.
A.T.: Pasé de leer esas cosas, a tener otro ojo cuando, a los 13 o 14, me leí ‘Cumbres Borrascosas’ y ahí dije “quiero leer más de esto”. Ese fue un periodo de puro clásico. (Translation)

Brescia Oggi (Italy) reminds us of Les Soeurs Brontë 1979 competing on the Cannes Film Festival 1979:

Le sorelle Brontë contro il Colonnello Kurtz. Non si tratta di una fanfiction scritta da qualche fantasioso utente del web, ma di ciò che accadde quarant’anni fa durante la 32esima edizione del Festival di Cannes (dal 10 al 24 maggio 1979) quando le grandi speranze della Francia, riposte nel quarto lungometraggio di André Téchiné, «Les Sœurs Brontë», vennero spazzate via da «Apocalypse Now» di Francis Ford Coppola. (Angela Bosetto) (Translation)

De Volkskrant (Netherlands) interviews fashion designer Inès de la Fressange:

Ook een aanrader: Woeste Hoogten van Emily Brontë. Aan wie ik het boek ook aanraadt of cadeau doe, niemand is teleurgesteld. Het is echt en terecht een klassieker. (Cecile Narinx) (Translation)

L'Express (Mauritius) reviews the film After:

Ou quand la jeune Tessa, tout juste arrivée de sa campagne de Géorgie pour étudier à l’université d’Atlanta, tombe sous le charme d’Harlin, beau ténébreux tatoué qui se fait désirer. Mais qui, comme elle, lit Gatsby le Magnifique, Les Hauts de Hurlevent et, évidemment, Orgueil et Préjugé, référence obligée de toute romance anglo-saxonne contemporaine. (Translation)

Female authors are recalled in Stylist and El Diario de Cádiz (Spain). The New York Times announces next week's US premiere of Cathy Marston's Jane Eyre ballet.